First up is Devin Rose of Granada Hills, California.
I have long been adverse to Hans Zimmer's more recent employment of heavy synths and electronic instruments in scores which seemingly deserve more orchestral authenticity. I believe this is demonstrated in the first two POTC scores in addition to THE DARK KNIGHT.
Therefore, I believe I am in a unique position to persuade you considering the mutual disposition we one shared. THE DARK KNIGHT has emerged as an unparalleled examination of reality while still remaining a Super Hero film, and I believe this alone will allow you to respect the music in a rare way. I believe the realizations I am about to bestow upon you will make you change your mind...
THE DARK KNIGHT presents one fundamental question: how does one deal with a criminal who cannot be stopped by traditional means? The film is a reflection of the world we now live in -- and the music must accurately conform to that reflection in order to facilitate the arguments being related in the story.
As you know, the Joker represents a terrorist, having no motive other than to cause chaos. It isn't enough, however, just to apply some dark theme or melody to accommodate this character. As he has no motive, and cannot be understood by virtually anyone, it is only appropriate to apply a cue that is also not understandable; one that has no discernable melody and only echoes the shadowy iniquity of the character. How could we expect anything else? Even a superior villain theme would compromise the overall reality of the film, making it seem like an over-dramatic fantasy.
Yet, with the abrasive and progressive melodies following the hero himself, we are introduced to a world of order that soon descends into the same incoherence as soon as Bruce Wayne loses all reasoning himself. Once Batman begins to abuse the law in order to defeat the Joker, the music can only follow in suit. The music is a complex negotiation between what is chaos and order.
You will notice that the music in this film is not a random compilation of cues or melodies. It corresponds exactly with what is occurring in the film, and understates the grim and foreboding statements that the movie makes upon society: sometimes it takes questionable means to stop a terrorist, but somebody better be there to account for the corruption when their job is done. That's the oath that Dent, Gordon and Batman all had to live up to -- accounting for their corruption.
Who in our government do you see stepping forward to account for that same corruption? Who is willing to take the fall to live up to their office and obligation?
The extent to which I am a student of music goes only so far as being a devout listener, much to that which both Hans Zimmer and James Newtown Howard have produced. In this score, they have together conducted far more than music, but the very inspiration it takes to combat anarchy and deal justice, to criminals and corrupt officials alike. They have dramatically translated all the above in every moment of the film through their melodic interpretations of what is otherwise indescribable in words.
The music tells a story.
Next up is Nick Tierce of Sarasota, Florida . Nick sent me a book….Apparently he doesn’t have much of a life other than writing about the soundtrack for THE DARK KNIGHT which I’m sure pleases him a great deal since an autograph copy of the CD will be at his doorstep soon. I thought I would just paste his most effective arguments here instead of the whole goddamn treatise.
…Let's get this one out of the way first: The Joker. The Joker is portrayed here as Batman's diametric opposite in terms of ideals. The Joker is not mad. He denies it himself when charged by the mobster Gambol, "I'm not. No I'm not," he says. It's true; as shown in the movie, the Joker is in complete control of everything he does, regardless of how "mad" the ends, his means are exactly in line with his absolute dedication to disorder. These fascinating concepts are set up musically in the first notes of the film: the Joker influence is felt musically with unnerving noises and a lazily played two-note piano accompaniment.
"I'm an agent of Chaos." He challenges Batman in this way. After the criminal death of his parents, Bruce Wayne took up the image of Batman to rid Gotham City of criminality by subjecting them to the order of justice in society. Batman is the embodiment of the people's power to demand Justice. This is noted by another character, district attorney Harvey Dent, who says, in response to a question of who appointed the Batman, "We did. All of us who stood by and let scum take control of our city." Batman is the people. He wishes to inspire them. Unfortunately, his inspiration proves to have several unexpected ramifications. This inspirational connection between Batman and Dent (really, extending to Batman's influence on the city) is captured beautifully by the subtle strings of James Newton Howard. This is especially evident in the dinner sequence with Bruce and Harvey; upon second viewing, the tune almost foreshadows the cataclysmic ending of this hopeful relationship.
…This is also a finely tuned setup for the Ferry sequence at the end of the film, which situationally makes clear the Joker's stated dictum: "Madness, as you know, is like gravity. All it takes is a little push." The Joker believes that, as previously stated, his mindset comes as naturally to him as it would anybody, generally in reference to the two ferries of people, and more specifically in terms of another defining character in this film. In one sense, he is correct. He was, very methodically, able to construct a situation that bent Harvey Dent into madness. The two-note piano theme for the Joker is echoed in these two most important sequences: first, when he persuades the mindset of Dent in the hospital, and lastly when the Joker is laying down his connection with the Batman whilst hanging upside down. (a particularly effective placement)
The ferry situation is fascinating on its own. A tense drama plays out onboard as each boat is given the detonation button for the other. It provides the Joker an opportunity to showcase his belief, and what better way than Gotham Citizens blowing themselves to bits? It is important however, that Batman, as the representative of the people, never for a minute allows himself to believe they will. "There won't be any fireworks," he insists to the Joker, who is eagerly awaiting the explosion. Indeed, no explosion comes. This display of good will on the part of Gotham is the priming that allows Batman to make the most difficult decision of the film, involving another fascinating character. The pallatable tension of this scene has a great deal to owe to the music...the indiscernably long sections of strings build in a inevtiable yet unpredictable fashion.
James Gordon comes into wholly new territory in this film. It is amazing that a supporting character that could have so easily remained stagnant was awarded a beautiful and compelling arc that ties directly in with the film's main dilemma. The story being told necessitates his character made a very, very difficult decision. A heartbreaking decision. Thankfully, we are saved from total, all encompassing bleakness in the way his character is built up this time around:
Everything Gordon does in this film further individuates himself as a person. He is self-sustaining. He doesn't NEED the Batman, as we are shown, and when the grim situation dictates that he turn his back on the partner he'd grown to know, we feel comfortable allowing him to do so. It doesn't take any weight off the situation, but it slightly loosens the wrench on our hearts. Look at Gordon's choice to fake his own death: he wasn't going to leave his family's safety in Batman, or anyone's, hands. He took charge. Look at his rise to power as newly appointed Commissioner after the murder of Loeb. We're ready when he's forced to "turn the dogs" on our hero. (Who isn't, really, a hero.) Musically, Gordon is likened to another strongley held character from the first film: Bruce's father. When Gordon walks up to his sleeping son, gently pushing the hair from his eyes to reveal that his father is, in fact, not dead, the very same music used for Bruce's memory of his father is played. Friggin' perfect.
…As if that weren't enough tension, Harvey's fall is also tied to the Joker. Letting the city see the fall of Harvey would prove, in the public consciousness, that the ideals of the Joker ultimately win out over those of the Batman. There's a touchingly simple line, as Batman realizes all of this. Barely seeping from his tired mouth, he forms the words: "But the Joker cannot win." He'll do anything to protect the image of the hero the city needs: Dent. The good Dent. He's so tied to Gotham, that he's willing to step down and tarnish his own image in support of a false one. An image he deems worthy of the city. An image he thinks they deserve. More than he deserves his own. And he turns the burnt side of Dent to the shadows, leaving his untouched face gleaming. A visual indication of an internal choice.
This decision calls to the best in all of us: the selfless, the honorable, the caring, the dedicated.
The Joker lost because of these things.
This situation depends on the effectiveness of the movie to set up a huge array of interconnecting characters, something that having a huge, blaring "thematically dense and mature decision" theme makes inappropriate and unfitting of the subtleties and richness this story, and score, contains.
And finally…
Aaron Sullivan of Webster, New York. This one was probably my favorite: concise, to the point, persuasive…I was particularly partial to the penultimate sentence regarding the finale.
Let's keep it simple.
Every film score is inextricably tied to the event of the film itself. I'd go so far as to say that a score that is a great listen apart from the film, yet does not serve the film, is a failure at the core. The amazing and incontrovertible fact is that The Dark Knight as a film is successful to a wide audience that surpasses the masses and grabs hold of even the most cynical of critics and art house viewers. My argument is that the film has steadied a most delicate balance that few have ever achieved and the score is in lock step with this performance. It never steps too far into the realm of inflated melodrama and it doesn't sink into a place of oppression and seriousness as to betray the extremes the story and performances stretch to grasp. I've heard just as many people respond to the action and heroics as I have the nuance and the intimacy in this film and it is all strengthened and made vital by the presence and push of the score. I'd even say that Heath Ledger's performance of the Joker is invigorated by that simple, yet inspired, chill that comes from the score. For practical merits, there is the achievement of smoothing the flow of tightly packed events and for landing in the perfect tone for the final speech which invoked in me a complexity of emotion I haven't experienced in any film I can remember.
Simply put, in a film so tightly wound and spun only a perfect score could lead it to the success it has reached.
Congratulations gentleman! Your autographed CDs will be in route shortly.
I’d like to once again thank every one who took the time and energy to submit their entry. I’d also like to thank Warner Brothers Records, Hans Zimmer, and James Newton Howard. One final nod of thanks should also go to Beth Krakower of Cinemedia Promotions.
There will be more great contests and giveaways to come so keep your eyes peeled.
Now to go listen to THE DARK KNIGHT a bit more…
ScoreKeeper!!!
